Matt Field, Bright Moments Part

Matt Field is a true OG of SF skateboarding and I think his part in Bright Moments may very well be his best yet. I hit up Matt to find out how he keeps the fire burning and the secret to a good wallride.—Dave Chami

I know you’ve been filming with Zach constantly for a few years now, how did you meet him? and describe your relationship.
I’m not too sure how it came about, I want to say a close friend of mine Evan Kinori had mentioned that there was this youth in town from Portland who was down with the Rasa translation of skating. Which you might say is more of a “who feels it knows it” way of holding space on your board with the intention of letting the street and your boys be your support, and you just have to show up and give it everything which goes without saying at this point. Zach just gets it on his board and behind the lens. He can bring you in closer and make you feel something that’s more than just tricks, it’s everything that got you to the moment right here now, and since that discovery we have a bond that goes a bit deeper and he is a fucking keeper. Love you sprinkles.

How important is the relationship between a filmer and a skater?
Oh boy, well it was huge for me because in the late 80s and early 90s I don't think a camera was ever really relevant in my skating, until I was on Real skateboards, then it was 99-percent of skating and it sucked and was probably going to be a very short lived relationship as Jim and Tommy were gearing up to do Non Fiction and the arrival of Huf and Gonz on the team. Things were turning up fast and I was stressing and not really successful in that department until the universe brought Mark Whiteley and I together. It was like a seed that found soil and was able to get watered and grow with all these very unique and specific needs like a filmer that would be a skate bud first, then friend. Shit was taking shape and we both had a mutual support system working and was sustainable in a way that I was able to get footage and Mark was able to get boards and gear to keep skating through his tight budget in college. Since I’d just had a kid at 18, turning in a good part for such an amazing brand could bring lots of sustainability for my growing family and it just kept continuing from there. Ten years later it was time to film for Real to Reel and Mark wasn’t available like he used to be as he was now the Editor in Chief for Slap magazine. So pressure was really on but I felt really lucky again with Dan Wolfe and I becoming good friends and both really particular and a bit critical on what good skating meant to us. We had lots of synchronicity so somehow with his support I was able to come through and was lucky because a lot of good stuff came from that part and there was no way I could have done it without the support of Dan and Gabe Morford.

This is your first full part I believe since Essence of Freedom and you’ve been filming parts for over 20 years now, how do you keep the fire burning?
Yeah, well for one, taking everything for granted and letting down lots of family and friends sure helped light a fire under me because that’s all we really have and after nearly going through an emotional divorce my life force was at an all time low and pretty much stomped out, but there was just that little ember smoldering still which was my love of my three kids and for skateboarding. At that point that’s all I had left and didn't even really have that, but I was ready to surrender and take a good look at myself and actions and I new shit had to change because nothing was making me happy and what did make me happy was going to kill me, and it wasn't skating, not saying skating can't kill you. It was just that nothing really brings me back into my body other than skating, that oneness and rich feeling you get from it was going to be my new quest so it was time, and since I’ve always worked on my yoga it was pretty clear what I needed to shed and what I needed to shred and that was everything to the best of my ability anyway.

Kickflip. Photo / HART

Kickflip. Photo / HART

My favorite trick of yours was the wallride nollie out you did on the fence over the street gap, how did that one come about?
Oh geez, I just had probably bailed everything else and thought I needed to take a look at the spot in a new light more with that Gonz vision or like a beluga whale and echo location, ba! Bah, bah! Bah! Aight, Jah.

Who are your favorite guys to skate with in the city now?
Oh man, damn, um Zachary, Evan Kinori, Barker Barrett, Matt O’Brien, Jesse Narveraz, Tobi, Ben Gore, Leo Valls, Trevor Thompson, Richard Hart, Ryan Barlow, Mike Daher, Dem Matts, Sam/Will Proof lab boys, Jamhel, fuck so many but those are a few go-tos that I know have my back and I love them and know they are all integral and crucial to my happiness.

As an OG where do you draw inspiration from these days?
Always Gonz Jim/Tommy/Huf ’cause they are still doing it and have worked their asses off trying to keep this authentic side of skateboarding alive with all these corporate private claim jumpers, fuck… Um, Andrew Allen is dope and AVE for sure, Andrew Reynolds. I don’t know I love comebacks as well, that shit is moving to see someone fall on their face in every way and still get up and keep pushing through all that scar tissue and muddy shit that can happen. That draws big inspiration and I am a fucking fan.

180 Nosegrind. Photo / CHAMI

180 Nosegrind. Photo / CHAMI

What’s the secret to a good wallride?
Let the wall do the work, just enjoy the ride.

Anything else to ad?
I love you Jen and Kiddies—Hana, Ryder, Dekoa and mad Maxcatcha. Thanks for everything, you are my family! Appreciation to Quim, Freddy, and Bigfoot, my Jersey family. Zach Chamberlin, Richard Hart, Huf and family, Reese and family thanks for looking out for me for so so many roads, you all ease my soul and give me so much joy, light, and love. Namaskate.

To grab a copy of this masterpiece on DVD take your moms credit card details to  Zachchamberlin.com.

Ryan Barlow’s part

Read our interview with Zach and watch the intro to Bright Moments.